Spagyric and Alchemy – Paracelsus-Tradition in an intertraditional consens

by Peter Hochmeier

Three thoughts, in particular, easily explain what Spagyric is. By elaborating on and explaining these three thoughts further the picture, though initially only very scarely depicted, will express the major aspects.

Firstly: The term „Spagyric“ carries the same meaning as „Alchemy“. Both words denote the same concept, the first coming from a Greek and the second from an Asian etymological background. In the Indian traditions of Ayurveda, „Rasa Shastra“ is one of the terms generally used for it. In western traditions Alchemy is called „the mother of healing-art“ or „the root of all arts and sciences“. Amongst other things, the term Rasa Shastra can be translated as „hermetic knowledge“ (Rasa = Mercury/Hermes; literary: „spirit of nature“ or „the changeable in things“, „that wich gives taste into the things“). So the word „hermetic“ means nothing else than „mercurial“, i.e. „natures spirit“. It comes from the greek word „Hermes“ for Mercurius (in later latin).

Finally, Paracelsus – in western tradition – would give us perhaps the most explicit definition of Alchemy/Spagyric: „The right handling of the things pertaining to nature“. That includes handicraft and art as well as iatrochemistry and therapy.

Paracelsus is often noted in this context as he is very simple, direct and strong in his expressions. Furthermore, in the following centuries the experts regarded him as a person of high authority. But it is to remark, that he was not the first and not the last in this „art“. He neither invented it nor did he change it considerably, nor was he the founder of something new. However, he remains as one in the line of hundreds that came before and after him.

All in all, it needs to be said that the spagyric art or alchemy respectively was not a phenomenon typical for the medieval period. Here, the vast amount of literature which was produced and made available through the development of the printing press can be deceptive. On the other hand, when reading in detail one or the other late-medieval treatise on Spagyric or Natural Philosophy, you will frequently find remarks like, „we hardly understand this art completely – the elder, however, were great masters in it“. And then, when consulting the texts of these „elders“, for example the ancient and late-ancient Greek, the Arabic and the Chinese scriptures, like Zosimos, Al Rhasis or Ko Hung, everywhere again you find references to the „elders“, who had mastered the „art“ in a far more profound way. No wonder it is claimed that, to some extent the lively iatrochemical and alchemy traditions of India, Central Asia and the eastern mountain regions ascribe to their lore an age of many thousand years, and further mention that an exchange between East and West had always been taking place.

This ultimately means that traditions had been carried on for thousands of years and probably since time immemorial, and Paracelsus follows them as one of the recent „Great Ones“ who were publicly known in the occident.

To illustrate what this was about, he (Paracelsus) pointed out that „the farmer, the winegrower, the baker and the weaver etc. were all alchemists“, because they „learned a certain something from nature“ via which they knew how to prepare things in such a way that the individual would benefit to the utmost. This basically archaic and deeply human attitude finds its peak in the art of healing. The more deeply a person is able to understand nature, i.e. is „able to read its signs“ (ars signaturae), the higher and more profound is his alchemistic craftsmanship, i.e. the „handling of the things pertaining to nature“.

Thus, the „doctrine of signatures“ forms the basic of every art („ ... the art without which everything else would have a hole.“ Parac.). The gardener, the carpenter, the healer – they all must be able to „read the signs“ of their patients, plants, woods etc. to perform real „art“ on them.

The term „art“ – and this would give us the second thought regarding Spagyric – has always been a customary-term, broadly used in the works on alchemy as well. It has always been understood in such a high and holistic way, and this is still the case in living traditions. In other words: A spagyrical prepared plant, mineral or metal, for example, is a „work of art“.

It has also been depicted as „fire-art“, the „art of seperation and coagulation“, the „hermetic art“ or the „philosophical art“ respectively. Even the original greek term Philosophos depicted a person who was a skillful craftsman, who found his insights through alchemistic practice, i.e. through a „harmonious handling of things“ – from nature’s perspective – and was able to confirm or correct them respectively. The modern interpretation of „Philosopher“ as an „only-thinker“ came newly up as a side-interpretation, for how should one’s thought be right and natural if he isn’t skillful in handling the natural things?

Thus, Spagyric is definitly a „craft“ and – according to the original understanding of craft – an „art“. Even today we would call it „arts and crafts“; though the philosophical background is rarely associated with the common use of this term.

By revisiting Paracelsus‘ comparison – the farmer being an alchemist, as he tills the land and thus assist nature in bringing forth grain; the baker being an alchemist, as he makes use of this grain when baking bread; the winegrower making wine and so on – all these artists create „viands“, i.e. goods that a person needs for living, so why – says Paracelsus – shouldn’t it be the highest art to prepare medicines. That’s the innermost archaic, timeless and traditional point of view. Of course, it depends on the quality of their art, as everyone knows: each bread, each wine tastes differently and each has a diverse effect, too. The same applies to spagyric preparations which are all „viands“ that, once again, have an effect according to both the quality of the art.

The third thought on this topic is the notion that this art exists in the process of developing the formative forces that are present in the „things of nature“. Beyond that, the „idea“ (Virtue / Quintessence) of these things is recognized by ars signaturae as well as it is known from tradition. By means of spagyric procedures it is brought forth into a material form which is available for the man body. In this procedure „active ingredients“, i.e. chemical substances, are not the central issue, as materialization happens only as an expression of the effect of forces. Mere matter-oriented thinking, observing and judging is, from the standpoint fo nature (followed in these traditions), considered as being rather primitive (in the true sense of the word). Or – as formulated in the Paracelsus way – „it has no basis in nature“ as it cannot grasp the far greater part of nature’s work, let alone understand the true interrelations. All living systems are first and foremost „force-oriented“. When forces change, matter changes as well. When forces withdraw, matter remains empty and lifeless and can only have a rather obstructive effect on living systems. Therefore, nature removes the matter from which the forces, that were hitherto connected with formation, have withdrawn, by absorbing it (matter) into the so-called „earth-element“ (Sal-Principle). When the „idea“ (Quintessence) is withdrawn from the substance, the forces too have to quit and leave the Corpore, i.e. the dead body which is to be principally absorbed into the earth-element. In spagyric/alchemical terms of the Paracelsus-tradition the „idea“ (Quintessence; Anima) is essence, soul or purpose of the manifestation of the material expression (Sal; Corpore). To manifest the „idea“ forces or powers are attracted and mixed together, differ more or less in every state of expressing.

The basic forces in individuals, nature and cosmos are „elementary“. All traditions at any time, both in the East and the West, recognize the „five elements“ which have evolved out of polarity. The mere observation of nature shows natures polarity very clearly: hot – cold, day – night, man – woman, sun – moon, fire – water etc. Earth, water, fire, air and ether are the elementary forces that come into effect through the continuous interplay of polarities and again connect and mix regarding to their actions, qualities and attributes, i.e. principles, doshas etc.

All coherent naturopathic and healing systems have their basis in this „philosophical foundation“ – for the very reason that it is nature itself. Without this philosophical foundation, for instance, the science of acupuncture, which was well promoted in the West since a hundred years, would not be possible because it originates from the same knowledge of nature.

When these elementary forces express themselves through matter, they connect with each other in very specific ways. This is the reason why in various systems the terms „juices“, „principles“, „doshas“ and the like are used. Thus the traditional term „gall“ depicts the „spectrum of the fire-element“ starting from the (solar part of the) ether-element and all the way through, and even into the earth-element (ether – fire – earth-direction). The alchemistic/hermetic term describing this process is „Sulphur-principle“. In eastern and western traditions this corresponds to the functional circulatory systems „gall-bladder“, „heart“, „pericardium“ and „triple-burner“, including the „stomach“ functional circle. In Ayurveda it is presented mostly as Pitta-Dosha with its numerous aspects of Agni. The corresponding places, functions and tissues in the body in which the various aspects of this „fiery spectrum“ come into effect, are numerous and multifaceted. In spagyric art that very same Sulphur-principle is recognized – e.g. in plants through their colour, their aroma, in their oily, resinuos, balsamic and similar substances. As this principle also presents the „soul-like“ (Anima) in the things of nature, it is – for example – seperated through distillation from a plant before the Mercury-principle – so to say its polar opposite – is digested. The „Mercury-principle“ (the „mind-like“) here signifies the „spirit“ (spiritus), and this is expressed in the plant-kingdom mainly as subtle watery, alcohol or other fluids. After having seperated the soul-like (Anima, Sulphur), the Mercurial is brought forth, e.g., through fermentation or maceration in alcohol, distillation, rectification and so forth.

Whatever processes of preparation we use: First we need to know that nature itself is composed in this way; second we have to understand as to how these basic forces in matter, in the „things of nature“ manifest (ars signaturae); and finally there is the „art“ as to how we are able to process these „things“, as the manifestations of these forces, to cleanse them („to bring them in their true nature“), and of course in the end to rejoin (coagulate) or revive these material expressions, which are then closest to their indwelling powers and can be used as medicine.

Following the plant-preparation described above, as one example of the Paracelsic tradition, when the two principles (Sulphur and Mercury; ether/fire/earth and air/water) are seperated from the plant, the residuum remains in a pressed form. It is not wasted, but reduced by incineration and calcination. So the third, the „Sal-principle“, is therby brought forth, as an alcaline salt out of the ashes.

The unification of these principles (or rather their purified material expressions) that follows, result in the end as a product, known by the term „spagyric plant-essence“. Traditionally there are many different ways and processes to get an essence, quintessence, arcanum, elixir etc. from plants, minerals, metals and other things, like animal products such as deer-horn, urine, bones, also clays, kinds of earth, water etc. In the Occident his knowledge was mostly orally delivered up to the medivial age. From around 15th cent. onward we have hundreds of books written or printed, but still practical and oral tradition was kept very secret in the west because of persecution and cultural breakdown since at least the last thousand years.

The whole process of the spagyric/alchemical preparation is in the true sense of the word „holistic“. In the end, the so prepared plant or mineral is seen as „in essence reborn“ and this „living medicine“ is effective because of the typical composition of elementary powers or rather because of the one specific virtue which is inherent in its „idea“.

The latter corresponds first and foremost to the term „Quintessence“. To arrive at true quintessence is a „high art“ and it is an important milestone in the school of spagyric and accordingly alchemistic practice. Viewed from handicraft point of view this means inter alia that the normally „fixed solid earth-salt is made volatile“. To what extent and in what way this is to be achieved is dependent on ars signaturae (recognition of suitability) and artistry at hand (dry-destillations, sublimations, cohobations, fixations etc.).

„Quintessence“ is in the broadest sense of the term identical with the term „elixir“, at least as far as the preparation has an „elixir-like“ (i.e. ennobling) effect. In this context Paracelsus provides an illustrative example, namely the process as to how to produce quintessence out of the fresh herb Melissa. „Quintessence of Melissa is poured on new fresh Melissa whereby quintessence once more is immediatly derived from the Melissa.“ The symbol of Ourobouros, the nature-dragon which is devouring itself and then would bring itself forth again, is a lucid illustration, and Paracelsus remarks: „Quintessence has colour and solidity“. That is connected to the practical handling of natural things, which reveals its content according to the theorem of Hermes, „make the solid volatile, and the volatile again solid, thus you will finish your work“.

P. H.